In the fifth issue (can’t believe it’s still going) of this infantile blog, I will be dissecting the music of Lorde’s buddy, a former Game of Thrones actor and one of the leaders of California’s emerging hip-hop scene. Hopefully there’s something in this week’s issue for everyone J

G Eazy

Gerard Earl Gillum, or G Eazy as you may know him, is one of the few leading the embryonic hip hop scene in California. With a huge loyal fan base to his name already, it won’t be long before instead of being the opening act for big stars such as Drake and Lil Wayne, that he becomes one of them in his own right. Highlights from his large compilation include the doo-wop sampling ‘Runaway Sue’ and the mature sound of ‘Marilyn’, a song about a broken relationship, where the tender melody sang by Dominique LeJeune is intertwined with Eazy’s commercially ready form of rap. This formula is used again in recent tune ‘Let’s Get Lost’. This makes G Eazy heavily comparable to the likes of Macklemore, in the simplistic piano backed tunes that they both pull off. G Eazy can also make more conventional, ego-boasting songs, albeit with significantly less effect. ‘Lotta That’, where Eazy teams up with A$ap Ferg and Danny Seth over a trap beat befits only one word of description. Terrible. Littered with rap cliches such as ‘yeah I have a lot of sex’, (I’m like me you are astounded by the creativity), this is clearly a path Eazy should avoid. Fans of more marketable rappers such as Macklemore, Big Sean or Wiz Khalifa will heavily appreciate his work.

Raleigh Ritchie

Part time Grey Worm from Game of Thrones but nowadays full time singer, Jacob Anderson goes by the moniker of Raleigh Ritchie producing gritty and honest alternative hip-hop enthused r&b. Songs such as ‘Bloodsport’ from his ‘Black and Blue’ EP, released earlier this year, are full of grit and pain, baring everything in the genuine delivery. It’s the perfect song for a miserable day.  While male stars in r&b nowadays are often twerking fanatics making shirt off music videos, as a welcome breath of fresh air, Ritchie (perhaps due to his past in the acting world) makes more raw, artistic ones as seen in the touching music video for ‘Stronger Than Ever’, as watching you choke back the tears. Fans of L Marshall and the UK Grime Scene will find Ritchie fits well into their playlists.

Lo-Fang

Lorde’s tourmate, Lo Fang, is a classically trained musician with expertise in playing 6 different instruments. After many years spent homing in his talent, Lo-Fang has released his debut album, Blue Film, where he expertly blends orchestral symphonies with complex electronic production. #88 assembles a fragile section of violin strings with tantalising synths and Lo Fang’s serene falsetto. Despite the vast array of rich sounds brought to the table, the ending effect is one of simplicity; his classical training coming through as every instrument is brought in for precise effect. ‘Where We’re Fire’ a more upbeat piece of indie electropop speaks of sexual frustration, a theme in the overwhelming majority of his songs. 2014 is Lo-Fang’s year, as he aims to reach a similar level of respect to fellow experimenters such as James Blake and with a start like this; it’s looking likely that he will.

 Best Song(s) of the Week:

So High by Doja Cat

So High, a track by LA based singer/rapper Doja Cat, already a renowned celebrity on Soundcloud, mixes slick production with her elegant voice resulting in a rather ambient feel, as you dive into the ocean of delight.

Beware the Dog by The Griswolds

Australian indie rockers the Griswolds (459,340,304 times better than fellow Australians 5 Seconds of Summer, cook up self-proclaimed ‘tequila-inspired party pop’. Beware the Dog a charming perk of a song one of the highlights from their quirky collection, ideal for a barbecue, talks about the pains of losing a friend to a drug addiction. The sound is disturbingly reminiscent to the Lion King with the colourful guitar lines and a few splashes of sunlight on top but nonetheless a definite summer tune.

In this fourth issue of this juvenile blog, the three artists being recommended all make ballsy, game-changing music. In addition to this exquisite trio, since it was so difficult to only pick one best song of the week, I’ve picked two. Fortunately I am yet to have heard a song so atrociously odious that it deserves to fit into the belittling worst song of the week section.

Kelela

30 year old Kelela Mizankekristos, is a determined and talented star-to-be, who mixes soulful vocals with a harsh, futuristic production, the result being grand alternative r&b. Kelela has trod a long, twisted path to get to where she is now, despite academic success at college, she chose to follow her dream of a career in music, paying the bills by whatever means. Many years of her life were spent finding an identity, from a spell in the jazz world to trying to be the next Mariah Carey. In these years of struggle, Mizankekristos recalls herself steeping so low as to steal from her friends. It is merely by chance that she met the right people to aid her escape from this dark abyss yet the raw sorrow from these experiences comes forth in her vocals. Songs that stand out particularly in her admirable collection include ‘Cut 4 Me’, an ultramodern sound with minimalist harmonies swooped precisely over innovative production from Kingdom, one of a pack of producers who Kelela frequently collaborates with. Other highlights are the metallic song ‘Enemy’ produced by Nguzunguzu, where sharp, clanging production is met with a menacing Asian string section as Kelela chants ‘don’t you know it’s me K-E-L-E-L-A’. Yet to sign an actual record deal until she’s completed her debut, Kelela is in control, knowing what she wants to achieve and how it’ll be done. Listeners will find her reminiscent of Aaliyah and similar to those such as Banks.

                                                 Kelela, making a sound before her time

Hozier

It’d be an understatement to say that Andrew Hozier Byrne, an up and coming Irish talent, makes very dark music. In Autumn 2013, Hozier, as he’s otherwise known, had a huge viral hit in Ireland with the song ‘Take Me To Church’, the song reaching number 2 on the Irish charts. As for content, the song itself critiques the prejudice and discrimination of the Roman Catholic church in Ireland as well as homophobic on goings in Russia. As Hozier condemns ‘a fresh poison each week’, being served at the churches, the blue-eyed soul and clear passion of his voice, make him more than a protester. ‘Take Me To Church’, a rock song, with heavy gospel and choral undertones, indeed does what the title says, taking the listener to a dark, gothic place lit only with moonlight, as the upfront lyrics roll on. Hozier openly criticises the little the Roman Catholic Church in Ireland has done to apologise for the pain it has done in the past saying ‘the reparations are all too few’.  Hozier indeed is a welcome example that music hasn’t lost its revolutionary meaning as it had years ago. Other gems in his sombre collection are the acoustic folk song ‘From Eden’. At first listen it seems a breezy juxtaposition to the previous tune, but the lyrics are just as profound.  A song of unrequited love takes a gloomy turn as Hozier bleakly croons ‘a rope in hand for your other man to hang from a tree’. Hozier in a nutshell is a mixture between the enthused tones of James Blake, the activism of Nina Simone and at his peaks akin to Jeff Buckley.

                                                     Hozier: Dark and Revolutionary

Elliphant

Ellinor Olovsdotter, or Elliphant is a Swedish MC, heavily influenced by the urban sounds of London as well as the reggae accents of Jamaica, both strongly coming across in her music. There are Scandinavian influences here also though, in the opaqueness of her work. Elliphant is clearly unafraid to speak her mind, as seen in the endless series of expletives scattered across her work, an outcast at school, the independence she so relishes comes across in her ‘f*** what other people think’ mentality. Perhaps the most striking song of hers is the Skrillex produced ‘Only Getting Younger’, a foreboding, frightening and fierce piece of dubstep-pop. The song is an uncontrollable, destructive monster destroying everything in its path without a second thought. Listeners who appreciate the likes of Diplo, M.I.A or Skrillex will find Elliphant slips nicely into their collection. If not then I’d sidestep this one.

Elliphant: The Scandinavian M.I.A

Best Song(s) of the Week

Don’t Wait by Mapei

This cute, catchy little r&b pop gem sounds like a bona fide hit. Simple but effective, you can almost feel the waves of the sea reaching up to your toes when listening. The stunning, chilled drum beats of the production make this a song even the biggest pop stars would be proud of putting out.

Luvletta by Meanwhile

An overwhelming, quirky, kaleidoscope of colour with a catchy bass line and a wild voice from newcomer Meanwhile, heavily tipped as being the next Prince, Luvletta is like an odd sort of party with party poppers and streamers as you get really drunk… Then it comes to an end, like the morning after, and you can’t even remember what the song’s about. 

Always open to suggestions :)

Somehow I am still making this blog after 2 weeks (does a little celebration dance), and in this issue there's a jazz hip hop maestro, a cold, cool electronic music genius and a new feature which I call worst song of the week. Enjoy, and as always feel free to send feedback :)

Rainy Milo
18 year old former Brit School alumni, Rainy Milo is a confident and adroit starlet in the making, she serves up her own diverse form of 'jazz-inspired hip hop'. Indeed the smooth jazzy beats compliment the lax nature of her voice with an added edge in the truthful London accent that she carries with her, heavily reminiscent to Lily Allen. The unique nature of this never-done-before style of music perhaps came from how Rainy from youth chose to surround herself with 'inspiring people', choosing to act against the status quo of her upbringing in which people "were told that they had a crappy fate and were willing to just go along with it.". The gritty reality of her lyrics as seen in songs such as ''bout you', a exotic cocktail of delights accompanied with a groovy base, succumbs the listener to more. As well as other songs. such as 'miss you', a laid back, summery piece of laid back r&b. Listening to Rainy Milo is like laying down on a sun bed just outside a New York jazz club, whilst being in London at the same time. Perhaps Rainy's songs aren't catchy enough for her to achieve success with a mainstream audience, but this young diamond in the rough shows much promise and can look forward to a glimmering future. If you like Amy Winehouse or Corrine Bailey Ray, I suggest adding Rainy Milo to your collection.

SOHN

SOHN an English electronic music artist nowadays based in Vienna. This move perhaps has been key to the compelling sound he makes, the cool, tranquil mountain landscape yet also the animated city life coming through in his music. SOHN's sound is rather reflective yet also energy enthused with edgy, epic beats, 'Tremors', perhaps his most noteworthy piece of work, is a monumental piece of frighteningly forbidding dance music, slivering up to a peak as the volcano of sound explodes half way through the song. The only slightly more upbeat 'Artifice' has a deep sense of almost nauseous
overload as SOHN mumbles 'somebody better show me how I feel'. Reminiscent to James Blake and
Banks in the hostile music made, SOHN is an artist I heavily recommend.

Best Song of the Week:

Silver Lining by First Aid Kit
An eclectic piece of orchestral country pop, First Aid Kit, as a duo sing with pain in their voices much older than their years, over the bittersweet nature of life. It is simply beautiful.

Worst Song of the Week:

#twerkitlikemiley by Brandon Beal and Christopher
I know I'm going to dislike a song once I see a hashtag at the beginning of the title, and boy this song doesn't disappoint. It isn't the dull beat or even the irritating voice of Christopher, 'Denmark's answer to Justin Bieber', that annoys me the most. It's the whole thesis of the song, the fact that anyone could in their right mind find it attractive seeing someone twerk like Miley Cyrus, many I'm sure are still struggling to recover from that VMAs performance...

P.S. Shoutout to my friend's youtube channel, Lunajay, go watch it guys